Textile Designer Esha Ahmed Joins Joy Moyler for a Conversation on Global Weaving Arts

This article introduces Shadé Akanbi, a Brooklyn-based freelance pattern designer and the Creative Director and Designer behind Printed Pattern People. Akanbi's design philosophy is rooted in her multicultural upbringing, which has instilled in her a passion for creating global fusion lifestyle and brands. Her work involves translating traditional ethnic patterns and textiles into contemporary interpretations suitable for everyday use. Akanbi's creative process often begins with identifying a specific motif or detail from traditional textiles. This chosen element then serves as the central inspiration, around which she constructs new patterns using fresh colors and additional details. She is prolific in her output, creating between one to six prints daily, drawing inspiration from personal collections, client ideas, or a combination of both. Akanbi is known for her collaborations with various brands, in addition to maintaining her extensive collection of global textiles. Her first major collaboration was with Anthropologie in early 2020, where her artwork was featured in an accessories and sleepwear collection. Since then, she has partnered with notable brands such as Intermix, Zuri, S'well, Chasing Paper, Netflix, and Target. Her most recent collaboration at the time of the article's publication was with Bounty Paper Towels, as part of their Inclusive Artists Project initiative. This partnership involved her artwork being featured on the Bounty Prints collection paper towels and her image appearing on the packaging, an experience she described as surreal due to the widespread nature of the household item. The article highlights Akanbi's ambition and future aspirations. As an avid traveler, she expresses a desire to collaborate with airlines and boutique hotel brands, specifically mentioning Delta, Jetblue, Kimpton, and Hyatt, envisioning these as platforms to showcase diverse art mediums. Her interest extends to athletic footwear brands like Nike, Adidas, Puma, and Vans, reflecting her passion as a sneaker collector. Furthermore, her background as a collegiate basketball player and a fan of the NBA/WNBA drives her dream to work with her favorite sports teams. Ultimately, Akanbi seeks to partner with brands with which she shares strong personal connections, aiming to utilize these collaborations as unique avenues for artistic expression. Her personal history significantly influences her artistic vision. Akanbi recounts how her upbringing, from her mother's styling choices to her father's Nigerian cooking, and her early travels, particularly her first trip to Nigeria, profoundly shaped her as an artist. These diverse experiences, encompassing sights, sounds, textures, tastes, and emotions, have cumulatively impacted her design sensibility. Her ability to blend cultural influences and her innovative approach to pattern design underscore her unique position in the design world. The article concludes by encouraging readers to explore more of Shadé Akanbi's work via her Instagram and mentions a past collaboration where she provided a Designer Desktop wallpaper for Design Milk. #PatternDesign #ShadeAkanbi #TextileArt #CulturalFusion #BrandCollaborations #ArtisticProcess #DesignInspiration #GlobalTextiles #CreativeDirector

Margo Selby, a celebrated designer-weaver, has been at the forefront of innovative textile design for over a decade, distinguishing her work through the creation of colourful, three-dimensional fabrics that form the core of her vibrant cushions, throws, rugs, and various home accessories. Her signature style, characterized by strong graphics and intricate patterns, originates from her Kent studio, where she utilizes a 24-shaft dobby loom to develop her unique hand-woven textiles before they are put into production by specialized mills. Selby's artistic journey is deeply rooted in her family's tradition of textile craftsmanship, with her grandmother, Edith Selby, having taught her crocheting and cross-stitching. This early exposure to textile arts naturally led her to pursue a focus on textiles during her foundation studies at Chelsea College of Arts, where she also explored graphic design, sculpture, and three-dimensional design. Her formal education continued with an MA in woven textiles from the Royal College of Art, followed by a fellowship at The Ann Sutton Foundation. During her fellowship, Selby engaged in projects that included developing products for Shetland wool and designing dobby fabrics for the interiors fabric industry in Yorkshire, establishing her initial connections with industrial mills. It was through these experiences that Selby began to bridge her hand-woven concepts with industrial manufacturing processes, leading to the development of her brand's hallmark silk and Lycra fabrics. The inspiration for her innovative three-dimensional fabric concept stemmed from her fascination with surface and texture, particularly the desire to emulate the tactile quality of bubble wrap packaging using silk. This pursuit involved extensive research into different fibers that would shrink when exposed to heat, which she then wove in combination with silk to achieve the desired three-dimensional surfaces. Selby's design philosophy is intrinsically linked to the art of weaving, which serves as the primary source of inspiration for all her creations. Beyond her personal handloom work, she actively explores global trends in woven textiles, drawing stimulation from highly decorative designs rich in pattern and color. Recent collections reflect an appreciation for indigenous and tribal fabrics, including techniques such as Japanese dyeing and African prints. The design process for her fabrics begins with the careful planning of the warp, which forms the structural backbone of the fabric on the loom, allowing for experimentation with different structures and weft yarns until a satisfactory product is achieved. This methodical and contemplative approach allows the fabric to evolve one row at a time, providing ample opportunity for design refinement. Once a fabric design is perfected through numerous developmental warps, Selby explores its potential for industrial production, collaborating with mills. For her flooring collection, her woven patterns were adapted into carpet constructions, manufactured in the UK. Operating from an open-plan studio in Whitstable, Selby immerses herself in a creative environment filled with materials, yarns, and inspiring imagery. Her daily routine involves addressing emails and collaborating with her team before dedicating the majority of her day to weaving at her loom. Her collaborations extend to companies like Alternative Flooring, for which she developed wool carpet and runner designs inspired by her deflected double-weave hand-woven cloths. Selby sources yarns globally, with Japan and the US being notable for their vibrant hand-weaving communities, and emphasizes selecting the most skilled weavers for specific material types. The business, which began in her bedroom, has expanded significantly to a bustling textile studio employing eight full-time staff and additional piece workers in Whitstable, focusing on bespoke textiles for a diverse range of applications. The handloom and the traditional craft of weaving remain central to all her products. The current re-emergence of carpet and color in fashion presents an exciting opportunity for her designs, particularly the translation of soft silk and wool fabric designs into large-scale, recolored flooring options. Selby's future plans include developing interiors fabrics for sale by the meter and expanding her accessories range to include bedlinen and towels. #TextileDesign #MargoSelby #WovenTextiles #HandloomWeaving #ThreeDimensionalFabrics #InteriorDesign #HomeAccessories #Craftsmanship #IndustrialCollaboration

Rachel B. Hayes, a Tulsa-based artist, creates striking large-scale patchwork textile installations using vivid, translucent fabrics. These temporary artworks are designed to transform perceptions of both indoor spaces and expansive natural environments. Hayes experiments with scale, color, pattern, light, and movement, resulting in joyful and dynamic installations. Her work has been showcased across the U.S. and Europe, frequently appearing as quilted sun sails in courtyards. One of Hayes's recent collaborations, "Horizon Drift" with Black Cube in Denver, featured overlapping triangular elements that cast colorful shadows, reminiscent of her piece "A Moment in Time" in Capri. These temporary installations, typically on view for a few weeks or months, integrate with their surroundings, drawing parallels to the monumental fabric interventions of Jeanne-Claude and Christo. Her richly patchworked or woven creations celebrate light, breeze, and traditional American quilting techniques. Hayes frequently revisits earlier works and site-specific experiments to fuel new designs, finding continuous inspiration and energy in these temporary explorations. She often returns to familiar locations in South Dakota, Missouri, and New Mexico to document her art multiple times, observing how varying light, weather, and landscape changes influence the perception of her pieces. She views many of these works as elements within a broader, long-term artistic vision. Some of Hayes's installations are designed for extended outdoor display, lasting at least five years, which has led her to develop expertise as a "fabric engineer" to ensure the materials withstand the elements while remaining visually impactful. Light, particularly sunlight, is a crucial component in Hayes's artistic process and site selection. For indoor installations, she carefully considers architecture and human movement, often "chasing the sun" to identify areas where light can interact with her textiles, creating reflections and colored shadows. While she utilizes software like Photoshop or Procreate for pattern composition, her primary focus remains on the physical properties of the material and its interaction with specific environments. Hayes's current installations include _Patterned by Nature_ at the Chicago Botanic Garden throughout the summer, _Soft Structures_ at Jane Lombard Gallery in New York City until August 8, and _Body’s First Architecture_ at Ely Center of Contemporary Art in New Haven, Connecticut until August 10. Her semi-permanent works are on display at the International Quilt Museum in Lincoln, Nebraska, and The Gathering Place in Tulsa. Additionally, her flag is currently flown outside Ballroom Marfa in West Texas during gallery hours. #RachelBHayes #TextileArt #SiteSpecificInstallation #Quilting #FabricSculpture #ContemporaryArt #ArtInstallation #TranslucentTextiles #LightArt

The project "Knowing the Ropes," initiated by designers Brynhildur Pálsdóttir, Þuriður Rós Sigurþórsdóttir, and Theresa Himmer, delves into the ubiquitous nature and varied applications of rope, challenging conventional perceptions of this utilitarian material. This artistic endeavor explores the cultural and structural significance of rope within a Scandinavian context, specifically focusing on its dual existence in interior design and maritime industries. The designers utilize two historical production facilities, Hampiðjan in Reykjavík, Iceland, and Aarhus Possementfabrik in Denmark, both established in the early 20th century and employing similar machinery. These facilities represent the divergent paths of rope production: one for marine use and the other for interior textiles. The core of the project lies in highlighting the unexpected aesthetic and functional intersections that arise when examining a material with such diverse applications. The genesis of "Knowing the Ropes" dates back to 2017. Over time, the project evolved from its initial conceptualization into a comprehensive body of work, culminating in a publication and an exhibition featuring objects and video installations. The initial exhibition was held at the Reykjavík Art Museum in 2021, showcasing the designers' innovative interpretations and creations. The artists further developed their project by presenting an evolved version at the Hallwyl Museum in Stockholm. This particular venue, a meticulously preserved Victorian home from the turn of the 20th century, provided a unique juxtaposition for the contemporary design pieces. The museum's ornate and traditional environment offered a striking contrast to the modern and unconventional objects crafted from rope, creating an unexpectedly modern aesthetic within a historical setting. The exhibition features a range of objects that reimagine the use of rope in everyday items and art installations. These pieces include floor lamps with rope-wrapped bodies and exposed light bulbs, demonstrating how rope can be integrated into lighting design to create a distinctive texture and form. Pedestals made entirely from rope showcase the material's structural capabilities and its potential as a sculptural element. A standing round mirror, framed and supported by intricate rope work, highlights the material's versatility in creating decorative and functional home furnishings. A modern three-legged table also utilizes rope in its construction, presenting it as a primary material rather than a mere accent. Additionally, arch-shaped shelving units, crafted with rope netting, illustrate innovative approaches to storage and display. Through these creations, Pálsdóttir, Sigurþórsdóttir, and Himmer prompt viewers to reconsider the inherent qualities of rope and its potential for artistic and design expression. The project not only celebrates the craftsmanship and heritage associated with rope making but also pushes the boundaries of how textiles can be perceived and utilized in contemporary design. The juxtaposition of modern designs with a historic setting further emphasizes the timeless appeal and adaptability of this fundamental material, inviting a deeper appreciation for the overlooked elements of our material world. #TextileArt #RopeDesign #ScandinavianDesign #MaterialExploration #ContemporaryArt #ExhibitionDesign #InteriorFurnishings #DesignInnovation

The article details an unexpected collaboration between interior designer Kerry Joyce and artist Marian McEvoy, sparked by a social media connection. Joyce, known for his interior design work, discovered McEvoy's intricate collages of natural elements on Instagram, specifically under the handle @gustthepoodle. Intrigued by her unique artistic style, Joyce researched McEvoy and learned about her prominent background as a former editor-in-chief of ELLE DECOR and House Beautiful, as well as an editor for Women’s Wear Daily and W. This discovery led to a personal visit to McEvoy's home and studio in Wappingers Falls, New York. During this visit, Joyce recognized the potential to translate McEvoy's distinct artistic vision into fabric designs. He expressed his admiration for her creative energy and his conviction that her designs would be ideal for textiles. The collaboration materialized into a collection featuring five black-and-white botanical watercolors by McEvoy, which were then printed onto linen in ten different colorways. The collection showcases various nature-inspired motifs, including dotted leaves, whimsical vines, and striped florals, all stemming from McEvoy's imaginative work. McEvoy shared her perspective on this new chapter in her career, attributing her refined sense of color, style, and quality to her extensive experience in the fashion industry, particularly her 17 years spent in Paris working with couturiers like Yves Saint Laurent. She expressed gratification at the current level of interest in her work, especially at 73 years old, and highlighted the positive experience of collaborating with someone who genuinely appreciates and acts upon her artistic contributions. The success of this initial collection has already paved the way for a second collaboration between Joyce and McEvoy, scheduled for 2022, underscoring the fruitful nature of their partnership. The story, originally published in the September 2021 issue of ELLE DECOR, exemplifies how digital connections can evolve into tangible and impactful creative endeavors within the design world. #FabricDesign #DesignCollaboration #InteriorDesign #MarianMcEvoy #KerryJoyce #SocialMediaInfluence #TextileArt #BotanicalPrints #ELLEDECOR

Hella Jongerius, a renowned designer, has consistently explored color and textiles throughout her extensive career, applying her innovative approach to diverse projects ranging from KLM airline interiors to custom upholsteries for Maharam. As design director of rugs at Danskina and art director of Vitra’s Colour and Material Library, she developed systems for matching colors and materials within their vast collections. Jongerius's work extends beyond industrial demands, driven by a critical perspective on the design industry's limitations and a strong social and political agenda. She advocates for integrating craft and the human touch into industrialized processes, celebrating imperfections, and promoting a diverse, light-reactive color palette. Collaborating with design critic Louise Schouwenberg, she co-authored the manifesto “Beyond the New,” urging designers to prioritize experimentation over hyper-consumerism and the industry's relentless pursuit of market share. Her recent focus has shifted towards exhibitions to share her research, following "Breathing Colour" with "Interlace" and "Woven Cosmos," which delve into the potential of weaving, particularly 3D weaving. Jongerius explains her choice to focus on weaving over knitting by highlighting knitting's already advanced state and ease of programming, unlike weaving, where software often remains outdated. She took a sabbatical year to immerse herself in the entire weaving process, aiming to understand its full potential beyond industrial efficiency demands. Jongerius critiques how automation, particularly the Jacquard loom, while initiating mass production, has simultaneously diminished the creative aspect of weaving, reducing the versatile hand loom to a mere robot. She laments the textile market's shallow state, blaming globalization and fast fashion for accelerated production cycles and increased pollution. She notes that complex weaving constructions have been replaced by simpler plain weaves, and material options have become standardized, limiting warp choices to black or white and restricting weft options to fast-running yarns. To challenge this, Jongerius and her team began building their own 'human looms' to create 3D weaving structures and explore possibilities unattainable in industrial settings. These efforts culminated in the "Interlace" exhibition at Lafayette Anticipations, where the entire building was transformed into a gigantic loom, serving as a workshop for weavers, designers, and artists to experiment with various weaving and braiding techniques. Upon receiving an invitation from the Gropius Bau in Berlin, Jongerius expanded her research to investigate the cultural and spiritual meanings of weaving and explore the future of 3D weaving, asking what new constructions could emerge and how they might benefit textiles, design, and other disciplines. Her studio is a hub of innovation, where a team of textile engineers and programmers combine digital programming with manual work on a digital Jacquard machine. They utilize the TC2 loom for experimentation rather than just sampling, allowing for on-the-fly changes in weft, diverse yarns, and varying thicknesses. Jongerius discusses the evolution of her "Seamless Loom" from Paris, which aimed to develop the skin of a three-dimensional object, to a rebuilt version in Berlin. In Berlin, they developed new know-how, including hacking their four-part loom to return to a flat loom, enabling multi-axial weaves and creating woven windows as a personal research project. This same loom allows for spatial work, where instead of weaving around a structure, they build spatial structures from the ground up by shifting the warp in multiple layers. This method creates "sandwiches" of double-faced or layered fabric, which can be cut open to unfold into three-dimensional structures, similar to pop-up cards. This innovative approach involves deconstructing traditional weaving hierarchies, questioning the conventional roles of warp and weft. Jongerius sees potential applications for her research in various fields, including the biomedical field for morphing membranes and vascular prostheses, and in carbon fibers for the automotive and aerospace industries. She envisions a future of "pliable architecture" made from 3D-woven architectural structures that are strong, lightweight, and offer a reduced carbon footprint. Such textile architecture could integrate insulation, regulate climate, and allow for personalized colors, creating pleasant and adaptable environments, all within a single "brick" material. #HellaJongerius #WeavingArchitecture #TextileInnovation #3DWeaving #DesignCritique #SustainableDesign #Craftsmanship #ArchitecturalTextiles #JongeriusLab

The article discusses the launch of Weft, an innovative online platform aiming to revolutionize the woven fabrics industry. Developed by Brooks Hagan, an associate professor of textiles at RISD, and Steve Marschner, a computer science professor at Cornell, Weft provides direct access to manufacturing for custom woven fabric orders, starting from as low as three yards. This platform distinguishes itself from surface-printed fabric providers by focusing on true woven designs, offering a unique service in the market. The project received research support from the National Science Foundation and a Small Business Innovation Research grant, highlighting its technological and entrepreneurial significance. Weft empowers users to personalize their fabric designs by allowing them to select colors, weave structures, and quality parameters, as well as define repeat sizes. This level of customization is particularly beneficial for independent designers working on smaller-scale projects, enabling them to create unique textiles without the high minimum order quantities typically associated with custom manufacturing. Users of the Weft platform have the flexibility to upload their own designs or photographs, integrating personal artistic vision into their fabric creations. Alternatively, they can customize existing designs available on the site. Beyond custom design, Weft also features a curated selection of limited-edition textile designs created by various artists. The article names Stephanie Pender, Kevin Zucker, Julia Dault, John Caserta, and Julian Kreimer as some of the collaborating artists, emphasizing the platform's commitment to artistic diversity. Hagan explains that the selection of artists from diverse fields was a deliberate choice to demonstrate the software's accessibility and utility to a wide range of creative individuals, regardless of their background. This approach aims to democratize access to custom fabric production, making it available to more designers and artists. In addition to custom orders, Weft operates an online shop offering ready-made woven jacquard fabrics. These fabrics are manufactured in the U.S. and include open-source options, further promoting customization. The versatility of these fabrics makes them suitable for various applications, including upholstery, drapery, and apparel, catering to a broad spectrum of interior design and fashion needs. Weft ensures efficiency by fulfilling custom fabric orders through its network of partner mills, boasting a quick turnaround time of as little as three weeks. This rapid production cycle is a significant advantage for designers and businesses seeking timely delivery of specialized materials. #WovenFabrics #CustomDesign #TextileIndustry #RISDInnovation #DigitalLoom #ManufacturingAccess #IndependentDesigners #ArtisticCollaboration

British artist Sophie Smallhorn, whose work explores the relationships between color, volume, and proportion, grew up immersed in a creative environment. Her parents were industrial and textile designers, and her Montessori education, with its use of brightly colored, precisely shaped wooden objects, fostered an early understanding of color, form, and dimension. This upbringing shaped her artistic approach, which is characterized by sophisticated geometric solids and a focus on color dynamics. Initially, Smallhorn pursued a degree in Wood, Metal, Ceramics, and Plastics at the University of Brighton, where she crafted sculptural furniture pieces that, despite their limited functionality, were primarily driven by color. She began creating assemblages from leftover materials for personal enjoyment, eventually selling them informally. Her acceptance of her work as fine art came only after a gallery explicitly presented it as sculpture, reflecting her background in design and making. Early career milestones included significant commissions from the avant-garde fashion brand Comme des Garçons, which provided opportunities for large-scale installations at its Tokyo flagship. These projects broadened her scope, leading to collaborations such as developing a 56-color palette for the London 2012 Olympic Stadium with Populous Architects, where exterior canvas banners in various hues marked spectator entrances. More recently, Smallhorn has ventured into textile design with Designtex, creating an upholstery pattern named Ribbon. This marks her first formal foray into textiles, a field her mother worked in, and one Smallhorn initially resisted due to her discomfort with digital design processes and the overwhelming possibilities of digital printing. However, a clear vision from Designtex's executive design director, Sara Balderi, during their renewed collaboration post-COVID, made the digital process manageable and even a revelation. The inspiration for the Ribbon motif originated from an enameled snuff box with an undulating ribbon, which Smallhorn encountered at the Victoria and Albert Museum. She developed the idea by physically manipulating collage and colored acetates, twisting and folding them, before translating these physical experiments into a digital layout for pattern repeat, palette, and scale. The initial design, which started smaller, evolved into a bold, graphic, and dynamic pattern with a theatrical quality, largely influenced by Designtex. The ribbon on the fabric is not solid but composed of parallel lines, a deliberate choice by Smallhorn to achieve an effect similar to screen printing, where overlapping transparent colors create a third hue, adding a playful and energizing graphic element. A solid version of this pattern, called Flat Ribbon, is available as a customizable wallcovering through Designtex’s Digital Studio website. Smallhorn notes a significant crossover between her two-dimensional prints and her three-dimensional sculptures and installations, as both involve compositions of hard-edged formal shapes. Screen printing serves as a rapid and playful method for developing ideas, allowing for serendipitous color scenarios that often inform her sculptural pieces. While her three-dimensional work does not allow for layering transparent colors, the print table mimics sketching, providing inspiration for new color combinations. She uses the same acrylic paint for both prints and assemblages, viewing the latter as vehicles for exploring and holding a palette. Smallhorn emphasizes the intuitive nature of her color decisions, often repainting pieces multiple times to achieve a desired equilibrium among what she describes as 'easy' and 'less easy' or 'awkward' and 'less awkward' colors, without relying on a predefined system. Her collaborations with brands like Comme des Garçons and COS exemplify her ability to bridge fine art and commercial design. For COS, she created window displays for five global stores, featuring large, overgrown stacks of shapes designed to complement product displays. This dual engagement with both artistic and commercial realms is a comfortable space for Smallhorn, who appreciates working with brands that share a similar sensibility toward color and design. Her career demonstrates a consistent exploration of color, form, and proportion across various mediums, continually seeking synergistic relationships in her chromatic work. #SophieSmallhorn #ArtistInterview #ColorDesign #Sculpture #TextileDesign #InteriorArt #DesigntexCollaboration #GeometricForms #CreativeProcess

This report details observations from the Interwoven fabric show, held from May 7-9 in High Point. The event showcased upcoming trends and designs in fabrics and leathers that are expected to influence the marketplace in the latter half of the year and early next year. Fabric manufacturers and importers presented their latest collections, offering insights into the business and fashion trends poised to appear on upholstery frames and drive retail traffic. Culp introduced new designs featuring a mix of textures, colors, and patterns, aiming to provide unique narratives for retail presentation. Sunbrella also presented a wide array of new offerings, catering to diverse style preferences among consumers with its broad design palette. Richloom's booth attracted visitors like Aamir Thobhani of Innnotex Solutions USA, who explored the new fabric selections. Key industry figures were present, including Bob Meloy of Big House Fabrics, who met with Bob Gorman, vice president of sales and merchandising at PMT Fabrics. R. Sackett Wood, CEO of Moore & Giles, showcased the company's new leather collections. J. Allen Fabric highlighted its Revive performance fabric line, with Miron Yaghoubi, partner and CEO, discussing new additions with Mike Willoughby, senior vice president of sales and marketing. Nice Link unveiled eight new collections, including Waters Edge, totaling 60 patterns and 600 SKUs, demonstrating a wide range of colorways. RM Coco displayed its comprehensive line, encompassing multipurpose solids, prints, wovens, embroideries, silks, performance and outdoor fabrics, sheers, decorative trimmings, and hardware, located in the fifth-floor Pavilion area of Market Square. Nassimi LLC, represented by Executive Vice President Iwan Nassimi, presented new vegan leathers, featuring commercial-grade fabrics designed for both style and durability in residential applications. Z-Wovens showcased a diverse mix of indoor and outdoor fabrics from its core Z-Wovens and Sunbelievable lines, engaging customers with its extensive offerings. Valiant Fabrics also exhibited in the fifth-floor Pavilions of Market Square, where attendees gathered information on their latest fabric introductions. The show provided a platform for participants to observe and understand the evolving landscape of textile design and material innovation within the home furnishings industry. #InterwovenShow #FabricTrends #TextileInnovation #HomeFurnishings #UpholsteryFabrics #LeatherCollections #PerformanceFabrics #RetailTrends #HighPointMarket

The exhibition 'Malware' at London's Pippy Houldsworth Gallery features artist Qualeasha Wood's tapestries, tuftings, and videos, which explore the concept of the digital glitch and its implications for the Black female experience. Wood, based in Philadelphia, focuses on internet malfunctions as a metaphor for vulnerability and change within systems. She merges contemporary digital culture with traditional crafts, translating digital pixels into stitches in her tapestries and creating intentional glitches in her video works through data compression. Wood notes that in the pursuit of authenticity, many fabricated images are produced, and her work aims to highlight imperfection and decomposition as more natural states. Her artistic process also involves incorporating strings of code into her images, shifting the focus from her physical body to its interaction within digital spaces. Wood's work investigates the disruption caused by 'glitches,' interpreting them both as digital viruses and as the presence of the Black female body within established systems. Her webcam self-portraits, in particular, consider the body as a site for both exploitation and resistance. Her interest in these themes began during her studies at the Rhode Island School of Design, where she observed the pervasive influence of social media. She found that online platforms provided a space for conversations about her experiences as a Black woman, which then informed her art. This led to her first tapestry, 'Cult Following,' which likens social media to a cult or religion due to its ability to simultaneously exalt and scapegoat individuals, a duality Wood experienced as one of the few Black students on campus. The artist's personal experiences with doxing, where her personal information was published online, further solidified her artistic direction. These incidents, occurring before she began creating her tapestries, motivated her to reclaim control of her narrative by weaving her own image into her artwork. Wood sees the digital and traditional realms not as opposing forces but as interconnected systems. Her childhood exposure to her great-grandmother's and great-aunt's crocheting sparked her interest in craft and textiles, recognizing their familiar and accessible nature. Similarly, she views computers as integral to her generation's experience, shaping pervasive relationships with technology. She identifies commonalities between traditional crafts and digital systems, both having inherent rules and offering opportunities for exploitation and creative manipulation. Wood employs a computerized loom to create her artworks, which interprets digital files to produce woven replicas of images. This method was inspired by a tapestry depicting her brother and cousins, a gift that demonstrated how images could be woven without strict adherence to stylistic conventions, utilizing scanned and collaged digital images. The most labor-intensive part of her creative process involves sifting through an extensive collection of personal phone screenshots, numbering in the tens of thousands, to select images for recreation. The actual weaving process, conversely, is less hands-on and typically takes a few weeks, often resulting in unexpected outcomes. She describes this as a release of control, relying on prayer for the desired result. As an avid consumer of digital content, with approximately 14 hours of screen time daily, Wood emphasizes the need for rapid artistic production to keep pace with the fast-evolving internet culture. Her use of pixels in her work deliberately moves beyond conventional beauty standards, embracing an aesthetic that is imperfect and raw. She views her tapestries as a 'double-edged sword,' allowing her to control the perception of her body while also being conscious of the voyeuristic gaze it might attract. The glitch, in this context, serves as a symbol of vulnerability, yet it also empowers her by subverting expectations of perfection and femininity, thereby creating a space for artistic expression and exploration. 'Malware' will be on display at Pippy Houldsworth Gallery in London until April 26. #QualeashaWood #DigitalArt #TextileArt #LondonExhibition #PippyHouldsworthGallery #BlackFemaleExperience #SocialMediaImpact #DigitalCulture

Riddhi Jain Satija, founder of Studio Medium, a Delhi-based apparel and home textile design space, reinterprets traditional handwoven textiles using intensive resist-dyeing techniques. Her work seamlessly integrates diverse textile traditions, such as the JamBan collection, which combines Bengal’s jamdani weave with Gujarat’s bandhani tie-dye. The design process at Studio Medium is textile-driven, starting with the selection and treatment of fabrics before garment construction. The team finalizes a color palette, which artisans then use to prepare for the tie-dye process, while Satija collaborates with her design team on sample sketches, garment construction patterns, and shade cards for upcoming collections. The dyeing processes at Studio Medium involve a meticulous back-and-forth approach, with a focus on achieving precision in shibori tie-dye patterns. Artisans engage in fabric tying using techniques like Arashi shibori, also known as the pole-wrapping technique. This method involves diagonally wrapping ivory fabric around PVC poles and securing it tightly with thread, then scrunching the cloth to create accordion-like folds. The term 'Arashi,' meaning 'storm' in Japanese, reflects the diagonal patterns that resemble falling rain. After preparation, the fabric-wrapped poles are submerged in a hot water bath, followed by the addition of natural and azo-free dyes. The shade is carefully monitored, and salt is incorporated to enhance color vibrancy. Once the desired color is achieved, the poles are sun-dried to remove excess dye, revealing intricate patterns resembling leaf veins upon untying. Following the dyeing and drying processes, tailors begin garment construction. The apparel then proceeds to artisans who hand-embroider or stitch to finalize each piece. Every stage of design and production at Studio Medium emphasizes high craftsmanship, detailed work, and a strong commitment to sustainability. Once completed, garments undergo rigorous quality checks, ironing, and display. The studio integrates core upcycling ethics into its operations, striving for zero-waste patterns and innovative upcycling of by-products. For instance, threads from the bandhani technique and fabric scraps from past collections or garment construction are transformed into unique textile art. Bandhani thread clusters are meticulously arranged on fabric and then sandwiched between another layer, secured with Kantha stitching to create textiles for outerwear in the 'Re' collection, which draws inspiration from Monet’s impressionist paintings. Another initiative is the 'Bor(r)o(w)' collection, which is based on Japanese mending philosophies, specifically the Boro art form. Artisans freely arrange fabric scraps from previous collections or waste materials onto new fabric, patching, stitching, and piecing them together to preserve their beauty. Studio Medium applies various dyeing techniques to hand-woven textiles to create a range of classic silhouettes, including kaftans, capes, shirts, saris, and jackets. Riddhi Jain Satija emphasizes that design is not merely about creating new items but about observing the environment and introducing simple innovations. She also highlights the importance of respecting the comfort and expertise of weavers and dyers, aiming to design mindfully and foster an inclusive and sustainable community of practitioners to generate unique narratives and experiences. Her personal journey into tie-dye began in her mother’s workshop in Kolkata, influenced by Jaipuri bandhani and Kutch district techniques, later exploring Japanese shibori at the National Institute of Design in Ahmedabad, where her fascination with the 'circle' as a design element continues to inspire her work. #TextileDesign #ResistDyeing #StudioMedium #RiddhiJainSatija #SustainableFashion #HandwovenTextiles #Shibori #Upcycling #IndianCrafts

Athena Calderone, a well-regarded visual storyteller and designer, shares insights into how her personal aesthetic influences both her fashion choices and home decor. Her overall style is characterized by a clean, modernist approach combined with a deep respect for classic and timeless details. In terms of interior design, Calderone advocates for an eclectic mix of vintage and found objects, emphasizing that these items, collected over time, tell stories and reflect personal journeys. She values the legacy of antique pieces, giving them new life and incorporating them into her spaces to add narrative, history, and personality. She believes that, much like one's home, fashion is a deeply personal expression of vision, style, and dynamic self, allowing individuals to convey their most authentic selves. Her husband, Victor, a techno DJ, maintains a minimalist aesthetic, primarily wearing black and favoring narrow silhouettes, slim-cut blazers, and pronounced lapels. His focus is on fit and luxurious, tactile materials, with subtle accessories like a gold watch providing a touch of distinction. In contrast, Athena describes her own fashion sense as more adventurous, playing with romanticism, sophistication, and a touch of edge. This contrast in their personal styles highlights how individual preferences manifest differently. Calderone's personal style directly translates into the design of her Greek Revival townhouse in Cobble Hill, Brooklyn. She intentionally curated the home with 99 percent vintage and antique pieces from the 1930s–1970s, predominantly Italian and French. This approach allowed her to blend classic elements that have endured through time with items she could personalize through reupholstery, such as her 1970s Italian Mario Bellini sofa. The sofa's low, loungy profile and plush nude velvet upholstery contribute to a balanced retro yet elevated ambiance. For the architectural aspect of her home, she made the unconventional choice to open up the parlor floor, contrasting with the typical compartmentalized layout of townhouses. Simultaneously, she preserved traditional elements like Greek Revival crown molding, wall paneling, a grand gilt mirror, and a striking black and gold marble fireplace within an otherwise all-white space. Personal touches, such as an elegant green marble head from her childhood, infuse the space with family history and personality. Calderone also uses layering of materials and varying sizes to create visual dynamism within her home. An example is the arrangement of a rustic wood column and an ancient marble fluted pillar in her living room, demonstrating how playing with scale, shape, and placement in decor mirrors accessorizing in fashion. She views both design and fashion as forms of self-expression, where individuals interpret and reflect the world through their unique intuition. She embraces the idea of creating thought-provoking tension by juxtaposing extremes, whether in a highly feminine dress paired with bold boots or a romantic gown contrasted with rugged jewelry. This deliberate interplay of elements is what she believes makes both a space and an outfit smart, intriguing, and balanced, captivating the observer and encouraging contemplation. #AthenaCalderone #HomeDesign #FashionStyle #InteriorDecor #VintageFurniture #EclecticDesign #BrooklynTownhouse #PersonalAesthetic #GucciFashion

Martyn Thompson, a New York-based artist and the creative force behind Martyn Thompson Studio, has discovered an innovative approach to repurpose discarded materials, transforming his used drop-cloths and rags into a collection of woven tapestries and fabrics. This initiative, aptly named ‘The Accidental Expressionist,’ debuted at The Future Perfect in New York. The collection is notable for its jacquard-woven textiles and murals, which reimagine the incidental marks and stains left by the artist during his previous projects. Instead of being mere by-products, these elements are elevated and given new significance, becoming the central focus of the final artworks. The essence of ‘The Accidental Expressionist’ lies in its celebration of often-overlooked details and the expressive traces of the artist's creative process. Each piece in the collection encourages viewers to engage in close examination, revealing layers of colors and stains that coalesce into Pollack-esque splatters. Thompson meticulously collects and photographs these incidental marks, transforming them from discarded elements into purposeful components of his art. This process not only breathes new life into otherwise waste materials but also redefines their aesthetic and conceptual value within a fine art context. At The Future Perfect’s showroom, the versatile applications of this collection were showcased, demonstrating how these unique fabrics can serve as upholstery for furniture, be crafted into pillows, and even form bespoke lampshades. A standout example is the 'Quarry' lamp, a collaborative effort between Thompson and artist Dove Drury Hornbuckle. Hornbuckle hand-crafts the lamp's structure, which resembles stacks of ceramic shards, while Thompson’s studio provides the distinctive bespoke shade, featuring the collection's unique textiles. The 'Quarry' lamp is also available in a cast bronze edition, offering a variety of patinas. ‘The Accidental Expressionist’ collection thus embodies a powerful narrative of transformation and artistic vision, converting what was once considered refuse into objects of beauty and design. It highlights the potential for creativity to find inspiration and value in unexpected places, challenging conventional notions of artistic materials and processes. The collection offers a fresh perspective on sustainability in art and design, illustrating how an artist's personal history and working methods can be intimately woven into the fabric of their creations. The exhibition at The Future Perfect provided an immersive experience for visitors to witness the innovative use of these transformed materials in various interior applications, from large-scale murals to intricate lighting fixtures. #MartynThompsonStudio #AccidentalExpressionist #TextileArt #SustainableDesign #WovenTapestries #ArtisanCraftsmanship #InteriorTextiles #TheFuturePerfect #CollaborativeArt

This article is part of the “Working out of the Box” series, highlighting architects who have successfully transitioned their architectural backgrounds into alternative career paths. This installment features Ishraq Zraikat, a Jordanian textile artist, weaver, and wool researcher, detailing her journey from a conventional architecture practice to a unique blend of architectural design thinking and traditional textile techniques. Ishraq Zraikat studied architecture at Virginia Tech, completing her thesis at the Alexandria campus. After graduation, she worked for a large architecture firm in Amman, Jordan, on projects including governmental buildings and schools in Angola. Despite the perceived prestige of the role, she found herself unfulfilled by the large-scale projects and lack of attention to detail, desiring to work on smaller, more intricate architectural endeavors. Unaware of the smaller, design-focused architecture practices in Jordan at the time, she decided to pursue a different design field: fashion, which allowed her to work with her hands and express her creativity through clothing design. Her interest in design began in childhood, where she initially aspired to be a professional athlete. However, at 13, she discovered her passion for design through making clothes and observing how flat 2D patterns transformed into 3D garments. She also enjoyed designing and making houses for her Barbie dolls, realizing that architecture offered a broader design education than fashion. She believed that an architectural background would allow her to pursue fashion as well. She recalls being deeply impressed by a well-designed house belonging to a classmate, a house she later learned had won an architectural award, affirming her early intuitive understanding of good design. Zraikat decided to leave architecture after a few years, realizing her passion lay in small-scale design where she could physically create her designs. She found that the architectural practice she was engaged in was too large in scale and lacked continuous learning and growth due to repetitive construction details. She left her job, organized a fashion show in Amman, and subsequently moved to New York City to gain experience in the fashion industry through internships at companies like Anna Sui and Kai Kuhne. During this period, she discovered textile design and innovation, which deeply intrigued her. She later pursued formal education in Textile and New Materials Design at NABA in Milan, Italy. Currently, Zraikat works as a textile designer and material developer, focusing on weaving and wool. She integrates various textile construction techniques to create innovative materials for diverse applications. She has dedicated herself to understanding and mastering these areas, including learning centuries-old Bedouin weaving techniques from Bedouin women in Jordan. She applies these traditional methods to contemporary textiles and installations, which have been featured in exhibitions. Her research extends to native Jordanian wool, exploring its material possibilities for not only textile and craft markets but also for architectural, agricultural, and other industrial uses. This research-driven design approach is a primary source of her professional excitement. Zraikat attributes her success in her current field to her architectural education, emphasizing that architectural thinking provides a robust foundation for all design disciplines. She believes that the design process learned in architecture can be readily applied to various mediums and scales. Her architectural background instilled in her an appreciation for the "all-inclusiveness" of design, recognizing the interconnectedness of human psychology, natural materials, resources, and innovation through history and into the digital age. She remains open to returning to architecture, especially if it involves integrating her textile and fiber knowledge. She recently collaborated with OnSite Architects on a competition entry for "Desert Dwellings" in Al Ula, Saudi Arabia, where she contributed a textile component based on her weaving installations and research into Middle Eastern native wool and animal fibers. The team won the competition, providing her an opportunity to scale her material experiments to an architectural level and explore how fibers behave differently in various contexts. #IshraqZraikat #TextileDesign #MaterialDevelopment #ArchitectureCareer #BedouinWeaving #WoolResearch #DesignInnovation #AlternativeCareerPaths #JordanianDesigner

African design is increasingly gaining global recognition for its unique magnetism and rich heritage, shifting from a previously overlooked status on the international stage. This burgeoning movement is championed by a new generation of designers who are skillfully blending traditional African craftsmanship with contemporary aesthetics, bringing a fresh perspective to furniture, textiles, and art. Among these prominent figures is Chrissa Amuah, founder of Amwa Designs, a London-based studio that creates textiles, furniture, and art inspired by Ghanaian sensibilities. Her 'Asanka' table, for instance, incorporates a jesmonite interpretation of a traditional West African grinding bowl under a glass top, with its wooden base drawing from the Ghanaian Adinkra symbol Adinkrahene, representing authority and leadership. Amuah's designs often feature vibrant color combinations and off-center silhouettes, embodying a balance of strength and vulnerability. Another notable presence is Altin Studio, founded by Mehdi Kebaier and Yasmine Sfar in Tunisia. This studio celebrates local design by utilizing native materials like sea rush, clay, and palm wood. They reinterpret age-old techniques through a contemporary lens, evident in pieces like the 'Ganymede' cabinet, which contrasts woven sea-rush panels with earth-red metal, referencing satellite patterns. Their 'Petite Ourse' seat, hand-carved from palm wood, also draws inspiration from celestial themes, alluding to the 'Little Bear' constellation. From Lagos, Nigerian designer Nifemi Marcus-Bello leads Nmbello Studio with an ethos rooted in empathy and respect for people and places. His work, developed over the past decade, has garnered several awards, including the Hublot Design Prize and the Curator’s Choice: Design for Good Award. His 'Oríkì' series, particularly 'Act 1: Friction Ridge', explores materiality and form through bronze sculptural benches, named after the Yoruba practice of praise poetry, and launched with an immersive installation featuring a soundscape of his mother reciting his personalized oríkì. In Johannesburg, Thabisa Mjo, the creative force behind Mash.T Studio, produces furniture, lighting, and homeware that celebrate South Africa's diverse cultural tapestry. Collaborating with artisan communities, she incorporates materials such as colored beadwork and repurposed telecommunication wire, traditionally used by Zulu watchmen, into pieces like her 'Bright Light' pendant and '4Kona Light'. Her recent lighting collections honor Xhosa customs and circular architectural forms found in rural areas, employing vibrant palettes that signify abundance and festivity, thereby promoting local crafts globally. Rich Mnisi, a Johannesburg-born designer, initially made his mark in fashion before venturing into collectible furniture. His work bridges the gap between function and art, drawing inspiration from the women in his life, queerness, and heritage. Pieces like the 'Nwa-Mulamula' chaise, displayed at Southern Guild’s ‘Mother Tongues’ exhibition, reflect the reclining body of his great-grandmother, showcasing a striking fluidity and organic elegance. His new work, ‘Vutlhari (Wisdom)’, a light crafted from bronze and resin, also features sweeping silhouettes. Zimbabwean artist Xanthe Somers draws on her homeland's customs for her hand-built ceramic sculptures, often functional as lighting and vases. Her 'In Bad Taste' collection challenges the political aspects of design, critiquing Western overconsumption and the impact of eco-racist practices on the global South. Her work, displayed in prestigious venues like London’s V&A; Museum, features vivacious colors, exaggerated silhouettes, and thought-provoking narratives. Don Tanani, a contemporary Egyptian brand, aims to redefine Egyptian design and showcase local talent. Collaborating with designers like Lina Alorabi, whose work has been exhibited internationally, the brand focuses on reclaiming Egyptian identity through sophisticated pieces. Alorabi’s 'Moruna' collection features a conversation chair, a curvaceous sun lounger, and coffee tables with tile patterns, reflecting the dynamism of Cairo and collaboration with craft experts. Finally, South African ceramicist Chuma Maweni began his journey crafting vessels using a pit-firing technique intrinsic to the Nguni people, developing a distinctive aesthetic of dark, porous surfaces and hand-formed sculptural outlines. After opening his Cape Town studio in 2016, his work, including the 'Imbizo' dining table and stools, has been exhibited globally and acquired by institutions like the Metropolitan Museum of Art, continually celebrating traditional craft through a fresh, contemporary lens. #AfricanDesign #Craftsmanship #ContemporaryDesign #FurnitureDesign #TextileDesign #CeramicArt #CulturalHeritage #EmergingDesigners #GlobalDesign

The Ditchling Museum of Art + Craft in Ditchling, England, is currently hosting an exhibition titled "Double Weave: Bourne and Allen’s Modernist Textiles," which aims to reintroduce the British textile company Bourne and Allen, and its founders Hilary Bourne and Barbara Allen, into the annals of design history. Active in the mid-1900s, Bourne and Allen produced a range of iconic woven fabrics, yet their contributions have largely faded from public memory. This retrospective seeks to correct that oversight by highlighting their innovative craftsmanship and personal story. Hilary Bourne and Barbara Allen were partners in both life and business, and their company was known for blending modernist aesthetics with traditional craft techniques. They frequently utilized natural materials and plant dyes, sourcing wools from across the United Kingdom. Their products, which included woven scarves, tweeds, and furnishing fabrics, were carried by prestigious department stores and design houses such as Liberty of London, Heal’s, and Fortnum and Mason. Bourne and Allen also played a significant role in major theatrical and film productions of their era. Notably, they designed expansive stage curtains and furnishing fabrics for the Royal Festival Hall in London, built for the 1951 Festival of Britain. Their work extended to Hollywood, where they produced 52,000 yards of custom-woven fabric for the costumes of 452 actors and 25,000 extras in the epic film *Ben-Hur*. The exhibition, which is the culmination of extensive archival research conducted by a team of ten, delves into the duo’s work, their lives, and their four-decade-long relationship. Various sections of the show explore their distinct weaving techniques, the materials they employed, their global inspirations, their personal backgrounds, and key career achievements. The displayed fabrics, encompassing both swatches and longer lengths, illustrate Bourne and Allen’s unique aesthetic, characterized by bright primary colors derived from natural dyes like indigo (blue), madder (red), and weld (yellow), contrasted with the natural hues of undyed sheep’s wool. The use of Lurex alongside dark yarns and varied weaving techniques such as plain weave, double weave, chenille, ikat, and floats of thick hand-spun yarns, created alluring textures. The exhibition contextualizes Bourne and Allen within a vibrant, women-centered community of craftspeople in England that predated World War II. A display titled “Map of intimacies: Women’s networks of love, friendship, and textile practice” visually charts the collaborative and intimate relationships among the women—friends, lovers, companions, business partners, and sisters—who influenced Bourne’s and Allen’s lives and work. To demonstrate the enduring relevance of Bourne and Allen's legacy, the exhibition incorporates commissions from two contemporary artists, Poppy Fuller Abbott and Omeima Mudawi-Rowlings. Abbott, a weaver from Sussex, created a piece inspired by the mid-century designers' techniques using indigo-dyed linen with silk floats, and also wove textile samples that replicate Bourne and Allen's fabrics for visitors to handle. A film in a dedicated viewing room documents Abbott’s weaving process. Mudawi-Rowlings's site-specific installation, "Drawn to the Light (نور)," features long swathes of silk dyed with plant materials and printed with personal symbols, reflecting themes of interconnectedness and personal identity amidst global events. Ultimately, "Double Weave" serves as a meditation on themes of love, loss, home, and land. It underscores how the act of weaving, both literally and metaphorically, involves intertwining traditions across time and place, fostering a continuous dialogue through generations in the form of fabric. #TextileHistory #MidCenturyDesign #ModernistTextiles #BritishDesign #Craftsmanship #QueerHistory #DitchlingMuseum #TextileArt #ExhibitionReview